The proposed trade agreement includes “Safe Harbor” copyright liability exceptions for certain online services, which is causing concern for many music publishers. On the positive side, though, the agreement extends copyright terms in Canada for 20 years, meaning that the copyright of a song there will be valid during the life of the songwriter plus an additional 70 years.
The hub consists of 17 CMOs from countries in Africa, and according to Music in Africa, ‘offers licensees repertoire on a multi-territorial basis in order to facilitate ease of access to a high-potential emerging market.’ Speaking to Music in Africa, CAPASSO Chief Operations Officer Wiseman Ngubo said that “we are of the belief that Africa is on the brink of a streaming boom.”
The global music business has become accustomed to reading about Hipgnosis Songs Fund buying writer/publisher rights and/or income streams to hit music. Today (December 10) represents something of a new direction for the company: it’s now also getting into master rights.
Warner Music Group and Providence Equity Partners today announced plans to invest in world-class recorded music and music publishing catalogs via a newly established platform, Tempo Music Investments, that has raised $650 million. The move is similar in some ways to the launch of Hipgnosis, which launched last year and has raised more than $800 million to acquire full or partial stakes in the catalogs of many songwriters who have enjoyed multiple global hits.
The Motion Picture Association has named Karyn A. Temple as its newest global general counsel. She joins Hollywood’s top trade organization after spending more than eight years at the U.S. Copyright Office, including most recently as the Register of Copyrights.
The filing points a California judge’s attention to a Pharrell Williams interview published in early November by GQ Magazine. The hit maker discussed his behind-the-scenes production process and how when he finds something he likes, he “reverse engineers” the feeling he gets from listening to that music.
The Justice Department has come out in support of Azoff through an amicus brief that it filed with the Western Division of the U.S. District Court’s Central District of California. The document calls on the court to reject a number of arguments that the RMLC has been making in the case.
It’s not that artificial intelligence will fundamentally replace human artists. It’s that AI will lower the barrier to entry in terms of skill, and give the world access to more creative minds because of what can be easily achievable using digital tools. Art will still require a human vision, however, the way that vision is executed will become easier, more convenient, less taxing, and so on.
Stephen Phillips, CEO of Australian startup Popgun, thinks that the early business models in this sector – AI-music as a replacement for production music, for example – are just a sliver of the ultimate potential for this technology. “There isn’t this place in the world where teenagers come together to make music for each other. That place does not exist, and that’s nuts!”
Artists have long been used to work being copied and passed off as somebody else’s, but this situation is a much more programmatic nuisance to bear. Select a bunch of popular artists, feed their streams as a source of data for bots designed to extract imagery, and then feed this data to open-source platforms where the image is used as a template for made on-demand merch.